Deep In the Heart of Tuva

by Jason Gross (March 1997)

Within a region of Siberia/Mongolian border that is called Tuva, there
is more freezing weather than all of the Great Lakes region combined, surrounded
by mountains and desert. This is a land where wrestling, games with sheep
bones and carnivore appetites are a standard. In 1921, a group of herders
created this country after Russians, Chinese, Turks, Huns, Mongols and
other armies had over-run the land continuously. Many people outside of
this region would probably have never heard of it if it weren't for a unique
vocal group that started up there around 1992. It's very fitting that this
was the same year that the land experienced a resurgence of national pride:
the Tuvan flag and official seal were revived. This is also when Kaagal-ool
Khovalyg, Sayan Bapa, Anatoli Kuular, and Alexai Sarytlar started Huun-Huur-Tu
and brought the unique Tuvan 'throat-singing' (or höömeï,
pronounced her-may) to the world.

In Western music, there have been a number of musical pioneers who explored
the contours of the human voice. Meredith Monk, Leon Thomas, Diamanda Galas,
Joan LaBarbara, and Bobby McFerrin have made careers out of finding out
what vocal chords can reverberate into besides words. Even more so than
gospel exhortations of soul singers who explore the human range of emotion,
Tuvan singers have explored the extensive potentials of the voice itself
in a long tradition. They cultivated this tradition as communication with
themselves, the sprits and nature around them, which they also imitated
with voices. This may not be so uncommon in a land where cloven animals
have far out-numbered humans for years. In fact, the group has said 'it's
impossible that people who spend so much time around horses- one of the
most rhythmic animals alive- would not have absorbed their sense of rhythm.'

As 'world music' has become a fixture in the West for a number of years
now, it should be noted that the Tuvan throat singing is not just an exotic
novelty but a part of a rich tradition. Initially, when groups started
forming in Tuva, like in many other Third World cultures, Western styles
were being copied. Tuvan copies of Beatles appeared as well as dance music
used with throat singing over it. Luckily, there are also earnest practitioners
of this fine art abound in Tuva to carry on the tradition for real.

So, what exactly is 'throat singing' then? Basically, it involves overtones
that are heard in new music, applied to voices. Höömeï is
the name applied to it though it is really only one of three or four styles
also including sygyt and kargyraa. You hear a deep humming groan, mixed
with a high pitched whistling sound. To practice this art, it's recommended
not only to carefully practice proper breathing/inhaling and diet (no cold
food before trying to do it) but also to, in the words of champion singer
Kongar-ool Ondar, "be in an very uplifted mood; your soul, your inner spiritual
voice, must be strong." Sometimes, three voicings are heard in one person's
singing. Usually, it's done acapella by a single voice (but with its multi-voicing
style, a singer may sound like a whole group). Nothing else you've heard
is like this. Even hearing this on CD is nothing like witnessing this in
person, seeing a group of seated men in 'native garb' give forth with amazing
sounds that dart and cut through the air, filling a whole concert hall
with the sound of their voices.

Thanks to Huun-Huur-Tu, who have done a number of tours around the whole
world now, this music is getting to be more and more well-known and popularized.
The group itself has made appearance on MTV, the Arts and Entertainment
network, record movie soundtracks and participated in a jam session at
Frank Zappa's house. There are now throat singing workshops conducted around
the world now as well as International throat singing competitions held
back in Tuva. To put things in perspective, blues singer Paul Pena has
brought the tradition full circle to American music, linking to Howlin'
Wolf's guttural groans.

Though they claim that mix experimentation into their work, Huun-Huur-Tu
remain true to their culture. They know their own history and use their
voices/music to continue the link that they're a part of now. Their name
literally means 'the light that breaks over the grass at the beginning
or end of the day.' As percussionist Alexander Bapa explains 'our ensemble
used the name because the light rays on the steppe remind us of the seperate
lines of sound in throat singing.' They also speak of 'respect for ancestors'
and 'naturalness and sincerety' when speaking about their music. This can
be attributed to the Buddhist faith and shamanism that have existed side-by-side
and have been a part of the land for centuries. Even their instruments
are regional creations such as 'horsehead' fiddle (igil), conch shell,
shaman rattles. All of their CD's are representative of this great music.
The best introduction is probably the wonderful DEEP IN THE HEART OF TUVA
CD/booklet (with its extensive notes and background on the country)- this
is where you hear all manifestations of this music: not just the group
itself but also young boys, old men, women and others all exhort in this
tradition. The origin of this tradition spans back to the 1930s with transcriptions
that have only been brought to light in the last decade. Even today, the
group uncovers newly-found 'old' material from singers around Tuva.

What is new and experimental about Huun-Huur-Tu though is the whole
concept of the band itself. When the Soviets ran the area, state-sponsored
troops of singers/dancers were common and the only outlet for young, upcoming
talent. After this era ended, many performers went out on their own to
perform. Traditionally, throat singing is done by one person. The idea
of a throat singing group with instruments is new in Tuva. Unfortunately,
it's also meant (ironically) that Huun-Huur-Tu finds it much easier to
perform in the West than in their own homeland. The endless bureaucracy
and lack of appropriate concert spaces means that you will usually not
find the group doing a show in Tuva. This doesn't mean that they pander
to Western audiences at all but that their own country (or at least its
government and promoters) aren't ready for such innovations yet.

The best that can be hoped for with what Westerners call 'world music'
is that it becomes common and familiar enough that it is no longer 'foreign.'
The tradition of höömeï is certainly firmly understood and
practiced within Tuva and is anything but 'foreign' there. Thanks to Huun-Huur-Tu
and other practitioners, it will also be something familiar, common and
welcome around the West as well. Hopefully, this won't just mean 'legitimization'
just because another hemisphere is able to appreciate it. It will truly
be 'world music' as in music that is known and appreciated around the world.

Special thanks to Andrew Seidenfeld of No Problem Productions who provided
assistance with this article.

DISCOGRAPHY:60 HORSES IN MY HERD (SHANACHIE) 1993
ORPHAN'S LAMENT (SHANACHIE) 1994
IF I HAD BEEN BORN AN EAGLE (SHANACHIE) 1997

WITH THE BULGARIAN VOICES/ANGELITEFLY, FLY MY SADNESS (SHANACHIE, originally released with JARO,
Germany) 1996